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March 06, 1981 - Image 9

Resource type:
The Michigan Daily, 1981-03-06

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The Michigan Daily Friday, March 6, 1981 Page 9
Those twinkling Belgian toes


Feel Isolated?
Left Out?



Wednesday night at the Power Center
for the Performing Arts Theater, the.
Royal Ballet of Flanders made their
Ann Arbor debut in the first perfor-
mance of a two-day engagement.
Presenting an eclectic program, the
company's dancers showed that they
are equally at ease in a variety of dif-
ferent dance idioms from pure classical
to soft shoe.
This aspect of the company has not
gone unnoticed in the dance world. The
rMpertoire-of the Royal Ballet of Flan-
ders contains the work of many dif-
ferent choreographers, some of whom
are quite selective as to which com-
panies they choose to present their
WEDNESDAY's program opened
with "Miniatures," a set of thirteen
short dances choreographed by Nils
Christe and set to the music of Igor
Stravinsky. The dances were playful
celebrations of the music, exploiting
ballet conventions to humorous effect.
One female dancer performed delicate
bourrees across the stage while she was
pulled by a partner who looked like he
was trying out for the lead in the Hun-
chback of Notre Dame.
In another piece, a woman sailed
towards and then up and over her par-
tner's outstretched arms and head only
to be- caught unexpectedly by another
dancer concealed in the wings. And so
on to the obvious delight of the audience
which giggled appreciatively
"After Eden," choreography by John
Butler, music by Lee Hoiby, followed.
Considered a modern classic, the ballet
depicts Adam and Eve after their ex-
pulsion from the Garden of Eden.
Despite Eve's central role in the Eden
legend, "After Eden" is conceived as a
virtuoso piece for Adam, danced Wed-
nesday by Tom van Cauwenbergh. Mr.
Cauwenbergh executed with precision
the demanding series of turns upon tur-
ns choreographed for Adam. Eve, dan-
ced by Vivien Loeber, made her initial
appearance as a living loincloth for
Adam and spent most of the ballet
prone on the floor beseeching Adam to
forgive and accept her. Eventually
Adam took her back and the ballet en-
ded with the two in close 'embrace.

Read the Daily
for the latest
News, Information
and Happenings.

THE ROYAL BALLET of Flanders made its debut appearance in Ann Arbor Wednesday night, performing everything
from classical ballet to soft shoe. Only a little more than a decade old, this company has earned world-wide respect with
their innovative choreography by barely post-pubescent dancers.

(The Cathedral Beneath the Waves),
the third ballet on the program, was
choreographed by Jiri Kilian. The
ballet was set to the music of Claude
Debussy and augmented by the sounds
of the rushing sea and the distant
mewing of gulls. Unfortunately, "La
Cathedrale Engloutie" was a bit of a
letdown from the first two ballets on the
program. Two couples (Vivien Loeber,
Rudi van den Berghe, Guillenmina Coll,
and Daniel Rosseel) swayed and ar-
ched against invisible waves, along the
floor. While some of the poses were
graceful, after a while the steps began
to assume a sameness and the static
melancholy projected by the dancers
became oppressive.
Despite . the excellence of
"Miniatures" and "After Eden," it was
in the fourth and final ballet of the
program that the dancers of the Royal
Ballet of Flanders shined. "Grand
Hotel," set to music composed by
Charlie Chaplin for his film scores and

choreographed by Jeanne Brabants,
the company's director, was a tribute to
the films and stars of the silent film era.
Unlike many other "loving tributes" in
which the object of affection is em-
balmed into a state of boring
petrification, "Grand Hotel" never took
itself seriously enough for the humor
and zest of its originals to be lost.
As the hotel staff expectantly waited
behind the frosted plate glass front of
the Grand Hotel, familiar figures made
their entrance through the hotel's
revolving door: sophisticated couples,
newlyweds, a Russian ballerina and her
impresario, Mae West with her "boys",
the Dolly Sisters (a gymnastic dance
team), Jackie Coogan ("The Kid"),
Mary Pickford and Douglas Fairbanks.
Even Rudolph Valentino was scheduled
to make an appearance; however, due
to an injury in the company, Mr. Valen-
tino was unable to keep his engagement
in Ann Arbor with the other luminaries
of the silent screen era.
The choreography was mar-

velously inventive, including as it did a
mad tango, a parody of the pas de
quatre from' "Swan Lake," several
devastatingly romantic pas de deux,
smooth ballroom dancing, and a dance
by two cat burglars attempting to climb
up a ladder at the same time. The whole
company danced the piece strongly;
however, Koen Onzia deserves special
mention for his portrayal of "The Kid".
Between the excellent technique
revealed in his difficult jumps and
multiple turns and 'his hopeful yet
woebegone expression, he won the
heart of the audience.


CINEMA I Apply for
membership at
presents one of our shows




This week in Ann Arbor


Martin Mull - Mull, late of Mary Hartman, Mary Hartman and America 2
Night, visits Ann Arbor in the latest stop of a cross-country tour. His show is
centered around a host of hilarious songs, stage patter and anything else that
may get a laugh. Tonight, 8 p.m., Michigan Theatre.
Steel Pulse - A British band that has earned a following with its blistering
reggae, Steel Pulse returns for another Ann Arbor appearance. Many
believe their Second Chance show last semester was the finest of the Tidal
Wave series. Monday, March 9, Second Chance.
Adegoke and Iqua Colson - The latest in a series of concerts sponsored by
Eclipse Jazz. Adegoke is a saxophone player of considerable power and
originality and an equally impressive piano player. The vocals by his wife,
Iqua, give his compositions a profound warmth and feeling.Friday, March 6
at 8 and 10:30 p.m., University Club.
The Plumber - A sardonic black comedy about a repairman who
thoughtlessly exploits a lonely housewife for five days while working in her
apartment; she has a fittingly bizarre revenge. Another Australian-cinema
study of class tensions, of unknown quality but probably worth the risk on the
strength of director Peter Weir's (The Last Wave, Picnic at hanging Rock)
peculiar gift for doom-laden, eerie poetry and evoking disquieting end-of-
the-world atmospherics. Friday, March 6,7:00 and 9:00, Lorch hall.
The Scarlet Letter-As if the combination of Ken Russell and Paddy Chayef-
sky on that other movie wasn't more than enough, this 1971 German film of-
fers an even more unimaginable pairing of.talent-modern-day, off-the-wall
film noirist Wim Wenders (Kings of the Road, The American Friend) and
Nathaniel Hawthorne. Whether the classic-tale of colonial persecution and
sin will mesh or clash with the director's expected jittery surrealism is im-
possible to guess, but the results can only be a curio at worst, and at best;
w something strange and wonderful. Saturday, March 7,7:00, Aud. A.
The Ann Arbor Film Festival - The 19th year, running from Tuesday
through Saturday with screenings at 7, 9 and 11. Winner's night is Sunday,
the 15th, and how could you possible want to miss any of it? Michigan
Mummenschanz-A trio of Swiss mimes who wowed Broadway for four years
with their rendition of the evolution of man and technique that went far
beyond the classic mime of Marceau in creativity and originality. Fri.-Sun.,
March 6-8 at 8 p.m. with a Sunday matinee at 2 p.m., Power Center.
Arts Staff

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TONIGHT, Mar. 6 7:00 & 9:15 Aud. A, ANGELL
(Edward Dmytruck, 1954) Humphrey Bogart portrays Captain Queeg, the
nerve-taut navy veteran, whose crew judges him unfit to command. When
the crew leaders are subsequently courtmartialed, we come to realize that
what seemed to be so clear at the time, is not clear at all, and we must re-
consider Captain Queea and men like him. A top grossing film in 1954.
Based on the Herman Wouk novel. With VAN JOHNSON, JOSE FERRER,
and FRED McMURRAY. (125 min.)
SAT, Mar. 7 Aud A. ANGELL
(Wim Wenders, 1973) If you thought Hester and Chillingsworth were strange
bedfellows, the improbable duo of Nathaniel Hawthorne and Wim Wenders
(director of The American Friend) team up for this unique rendition of an age
old tale of infidelity. This Ann Arbor Premiere stars SENTA BERGER and LOU
CASTEL. Both the, heroine and the director deserve "A's" for their efforts. (94 mi).
(Raner Werner Fassbinder, 1972) A fruit peddler watches his unexcep-
tional, life go down the drain-a slice of life melodrama gone craftily
mod. The sensation of the 1972 New York Film Festival, it was the film that
introduced many filmgoers and critics to both the renaissance in New German
cinema and the work of its most remarkable director. (88 min.)
Aud A Angell 7:00 only
(Jean-Luc Godard, 1965) A movie about:gangster movies, Pierrot moves ui
a furious pace following the adventures of Jean-Paul Belmondo as Pierrot,
whoruns away from his wife an into the arms of Anna Karinp, various
gangsters, and death.'Dreams andself -delusions are the only reality in this
film. Featuring SAMUEL FULLER as himself. French with subtitles. (110 min.)
(Jean-Luc Godard, 1970) This film for revolutionaries was made in the wake
of the turbulent 60's, just after the French student revolt and the invasion of
Cambodia. Written by Godard and the European radical, Daniel Cohn-Bendit,
Wind from the East is a melange of ideas and comments, notes and in-
structions to the world of Kent State and the Weathermen. (92 m.)

"Plishka's robust
bass reveals a singer
doubtlessly on the
verge of a major

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After words


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19 S. Main
Ann Arbor


Paul Plishka, Bass
Tchaikovsky: None But the Lonely Heart. The Cradle Song, Don Juan's Serenade
Rachmaninoff: The Harvest, Spring Waters
Schubert: ErlkLning
Schumann: Erstes Grim, Wanderlied, Ich grolle nicht, from Dichterliebe
Mozart: "Non piu andrai" from The Marriage of Figaro
" Arainian PaA':Dovbush, arr. D. Zador
ILvsenko: Boundless Field, Days Pass
L Lepky: Cranes
John Jacob Niles: Four Gambling Songs
Verdi: "Ella giammai m'amo" from Don Carlo
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